To have a look at James Citadel’s work is to enter his secret world. The artist typically bundled after which hid away his works within the partitions of houses and outbuildings and even buried them in holes.
This behavior of hiding exists in stress with the wondrous drawing on the second flooring of David Zwirner Gallery in Manhattan, exhibiting a naked plank-and-beam attic crowded with almost 100 of his artworks, together with books, dozens of sculptural figures leaning towards a wall or standing on cabinets, and almost 20 drawings hung from the wall. Does this crowded however intuitively ordered show of his personal work inside a single drawing contradict his cloistered observe? Maybe the drawing served as a catalog for works that had been to be saved, in order that he may later recall what was now not at hand. Whereas Citadel’s intentions can’t be discerned, the pleasure is available in puzzling out the connections in his huge and infrequently mysterious visible universe.
Citadel was born deaf and deemed “uneducable” as a young person on the faculty for the deaf he attended for 5 years. Born in 1899 in rural Idaho, he appears by no means, at the least within the standard sense, to have discovered to learn and write. From a younger age, till his dying in 1977, he dedicated his life to making art among the farms and ranches in and close to Boise. His precept medium all through was soot from the household range combined together with his personal saliva on the repurposed materials he salvaged from his household house, which doubled as a publish workplace and normal retailer.
Whereas formally untrained, his work could have prefigured, in uncanny methods, main artwork actions, together with Pop Artwork, concrete poetry, the Italian motion arte povera (actually “poor artwork” that makes use of available low cost supplies). Could have as a result of it’s troublesome up to now his work with any precision, as he was recognized to carry on to supplies for many years (an commercial from 1940, say, might be utilized in 1970 to make a drawing).
Although he exhibited regionally and on the West Coast within the remaining many years of his life, Citadel labored largely with out contact with the artwork world. His breakthrough retrospective was posthumous in 2008 on the Philadelphia Museum of Art. Nonetheless, it’s considerably discordant to see the common-or-garden drawings and objects now on gleaming show at Zwirner, organized in collaboration with the James Castle Collection and Archive, from a group acquired in 2012 by the late famed collector William Louis-Dreyfus. The restricted gathering of objects on view are like peering right into a keyhole, although solely a sliver of Citadel’s world is introduced into view.
Lacking listed here are his drawn reproductions of product packaging, his handmade books and calendar-like constructions, in addition to his experiments with hand-drawn typography. The ample choice on provide — drawings, sculptural objects fabricated from cardboard, paper and string, in addition to the lesser pigmented works — nonetheless permits for frolicsome trying and evaluating.
Within the first of three rooms right here, the drawings on the encircling partitions all characteristic landscapes or farmscapes. In each his interiors and exteriors, Citadel is a grasp of spatial perspective: the identical scenes are handled from completely different views, making a dialogue among the many works in addition to a wealthy sense of three-dimensional house.
The realism of those landscapes, in his free assured strains depicting farm buildings, tents, fences, energy wires and treelines, is unsettled by what appears to be invented and fantastical sculptural components. One construction seems in variations, like an altered crucifix with a number of crossbars stacked from the underside to the highest. (John Beardsley in his substantial 2021 guide “James Castle: Memory Palace” has linked this manner to a standard barn-ladder design using a single central publish.) At different occasions, the identical form seems like a large cartoon cactus with nubby symmetrical arms ascending on both aspect, echoing vaguely biomorphic Franz West sculptures.
The combination of actual and imagined feels starkly modern and conceptually wealthy. In turning actual farmscapes into imagined sculpture gardens, Citadel’s drawings anticipate augmented actuality functions the place a VR headset or a telephone’s digital camera reveals a Pokémon in a public park or a KAWS sculpture hovering over Instances Sq.. Perhaps Citadel’s drawn sculptures had been themselves a response to technological change, replicating in reminiscence and feeling how the panorama was as soon as reworked by the set up of energy strains and their towers.
Past the paper’s gradations from off-white to ocher and cardboard mediums, I by no means thought there was a lot to see in Citadel’s use of colour. The collection of pigmented works right here, principally depicting homes, look uncharacteristically obscure, and will be the product of his later years when his imaginative and prescient, dexterity and reminiscence had been flagging. However the presence of those made me take note of the colour in his cardboard, principally figurative constructions, which his household known as his “buddies.”
I used to be charmed by the vary of pinks on the untitled “flamingo,” flecked with yellow on the pinnacle and neck, and tilting to lavender with maroon on the physique. Citadel’s irregular stitches distinction with the ordered deep-blue stripes of the near-abstract “vessel” because the hand-sewing in slender yellow ribbon, white thread and blue-toned string play atop as one other type of drawing. The star of the present will be the almost three-foot-tall paper doll flapper in a red-and-white striped gown, and black footwear that match the band of her hat. There’s a sense of exuberance and play in these objects, making me think about Citadel’s attachment to them, and the way they might have introduced jolts of life and colour to his in any other case monochromatic but transfixing worlds.
Via Feb. 12 at David Zwirner Gallery, 537 West twentieth Avenue, Manhattan. 212-517-8677; davidzwirner.com.